John Christ's chordal figure that comprises Rhythm Figure 1 is a stark and eerie mood-setter. It's two of the simplest chords possible -- a one-finger C/E and a totally open E minor -- but he plays the passage so achingly and hauntingly that the musical complexity belies its simple construction. The trilling figure at bars 5-6 serve as a sort of recurring idea that gets developed as the song develops. But for now it sounds like a simple bird call, hovering lightly over the dominion. At 1:51 the open-sounding guitars give way to solid-wall distorted ones for the chorus figure. Fill 3, a possible corruption of the aforementioned Fill 1, is more wailing and solo- like, but it is perfectly mixed with the rhythm guitar, and doesn't stand out as a seperated texture. John begins his solo 1 1/2 bars into the section with a plaintive-sounding midrange bend. The quarter-note triplets at bar 6 maintain the slowish pace, and the low E at bar 7, bent 2 1/2 steps, ends the first large phrase on a "down note." He begins the second eight-bar section with a rapid flurry in bad 8, as a pickup to bar 9. He repeats the quarter-note triplet idea heard in the first section, suggesting that he's still exercising restraint. A mournful bend caps off this phrase at bar 11. It's in rhythm, so heed the grace note and bend indications about it. John goes to eighth-note triplets in bars 13-14, but it's still perceived as a meandering, not driving, pace. Finally, his classically placed climax occurs at bar 15 where he unleashes a fury of 32nd notes and 16th-note triplets. He never leaves 12th position E pentatonic minor (E G A B D), and this contributes to the smooth, legato sound -- to say nothing of Mr. Christ's technique. He peaks out at a high B (bent from A) on the final beat of the final bar, and uses this note as a pivot point: it's the last note of the solo, but also the first note of the backing figure used for the final pre- chorus.